Category Archives: Drama

End of Watch-2012

End of Watch-2012

Director David Ayer

Starring Jake Gyllenhaal, Michael Pena

Scott’s Review #447

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Reviewed July 8, 2016

Grade: B+

End of Watch (2012) impressed me much more than I was expecting. What I expected was a safe, by-the-numbers, buddy/action movie, since it was rather promoted as such from the previews.

It was worlds better than that and threw me for a loop, in a good way.

The film stars Jake Gyllenhaal and Michael Pena as two detectives patrolling the streets of grizzled central Los Angeles, which are riddled with drug and gang violence.

The viewer is brought along for the ride as we see a day in the life if you will, of their cop beat.

The one knock I’ll give the film is the implausibility factor of a cop videotaping everything. This seems silly and unrealistic.  Wouldn’t he be incredibly distracted? That said, some of the filmings were amazing, including the opening sequence.

The film contains a realistic, grittiness to it, and the Los Angeles locale is very effective.

End of Watch (2012) feels painstakingly real, is not always happy, and the dynamic between Jake Gyllenhaal and Michael Pena is evident and their friendship feels real.

The movie feels like a day in the life of an LA cop, sparing no edgy detail, and does not gloss over the lifestyle as many cop films choose to do.

Independent Spirit Award Nominations: Best Supporting Male-Michael Pena, Best Cinematography

Once Upon a Time in Anatolia-2011

Once Upon a Time in Anatolia-2011

Director Nuri Bilge Ceylan

Starring Muhammet Uzuner

Scott’s Review #445

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Reviewed July 4, 2016

Grade: B+

Once Upon a Time in Anatolia is a Turkish film that, circa 2011, has received notice and recognition during awards season.

The film is very slow-moving and requires some patience, but it is worth the effort and I found myself savoring the experience by the end.

It is a cerebral, thoughtful experience about life and human nature and is philosophical in its message. The main characters reflect on their lives while searching for a mysterious dead body in the plains of Turkey in the middle of the night.

The cinematography is wonderful and some of the camerawork is amazing.

It’s quite a unique film.

The only drawback is its extremely slow pace, but upon its conclusion will leave you pondering for some time.

No bombs and no car chases are involved, just honest, truthful dialogue.

Independent Spirit Award Nominations: Best International Film

Arbitrage-2012

Arbitrage-2012

Director Nicholas Jarecki

Starring Richard Gere, Susan Sarandon

Scott’s Review #437

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Reviewed July 1, 2016

Grade: B+

Arbitrage (2012) is an exciting, interesting, little indie thriller starring Richard Gere as a successful, but troubled, CEO, whose life begins to unravel around him through a series of circumstances.

He is a billionaire but at risk of losing everything due to shady dealings and fraudulent activity.

The film is the type that keeps the audience guessing and is never predictable. The plot slowly unravels into something of a pot-boiler. It is tense.

Richard Gere is the standout as he gives a wonderful, believable performance. Once known as little more than a hunky Hollywood star, Gere has blossomed in recent years, taking on more compelling and complex roles.

Arbitrage (2012) contains some Hitchcock elements throughout in its complexities, though Gere’s character is an anti-hero whereas Hitchcock’s were frequently good guys in bad circumstances.

The car crash scene is brilliantly done.

I wish this movie had received more attention than it has as it is a fun, thrill ride.

Compliance-2012

Compliance-2012

Director Craig Zobel

Starring Dreama Walker, Ann Dowd

Scott’s Review #435

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Reviewed June 30, 2016

Grade: A

Compliance (2012) is a ninety-minute riveting experience that will leave you thinking, talking, and feeling for days or weeks after viewing it.

The film is that intense.

The fact that it is based on true events is even more startling. It is, at times, quite disturbing and unsettling to watch, and if one likes their movies happy and wrapped in a bow, this will not be for you, but for film fans who truly want an emotional experience check it out.

At times I wanted to scream at the characters, look away from the screen, and shake my head in disbelief.

A truly riveting experience.

Major props to actress Ann Dowd, who does a bang-up job as the restaurant manager, and main character. What an amazing talent this actress is.

My range of emotions toward this character (sympathy, confusion, anger, disbelief) blew me away.

Compliance (2012) is one of the best modern films of late.

Independent Spirit Award Nominations: Best Supporting Female-Ann Dowd

Hope Springs-2012

Hope Springs-2012

Director David Frankel

Starring Meryl Streep, Tommy Lee Jones

Scott’s Review #434

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Reviewed June 30, 2016

Grade: B

Hope Springs (2012) is a cute, lighthearted romantic comedy-drama with enormous talent (it is tough to go wrong with heavyweights like Meryl Streep and Tommy Lee Jones).

The story tells of a middle-aged, married couple who reach the point of boredom in their long marriage. They decide to go away on a retreat to repair their marriage and add some spark.

That’s the movie in a nutshell.

There are no surprises to speak of and I expected a bit more from this film given the talent involved. It has safely written all over it, and while nice, it could have been much more.

What’s the reason for the conflict? They suddenly reach a point of boredom for no reason.

Props to Steve Carell for an against-type performance.

Hope Springs (2012) has great acting all around, but too safe of a story.

The Paperboy-2012

The Paperboy-2012

Director Lee Daniels

Starring Matthew McConaughey, Zac Efron, Nicole Kidman

Scott’s Review #427

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Reviewed June 21, 2016

Grade: A-

The Paperboy (2012) is an exceptional piece of filmmaking by modern acclaimed director, Lee Daniels (Precious-2008, The Butler-2010), who has become one of my favorite directors in recent years.

His latest film is raw, violent, containing elements of black comedy, and is arguably Nicole Kidman’s and John Cusack’s best performances.

They both play troubled, insecure characters, who have major issues.

It is set in the Deep South during the 1960s and has film noir leanings. The film is incredibly tough to classify, but the drama will cover it just fine.

Racism, homosexuality, and deceit are subject matters covered in this complex yet fascinating experience.

Gritty and disturbing at times, The Paperboy (2012) is an important film that fans of true artistic cinema must see.

Seven Psychopaths-2012

Seven Psychopaths-2012

Director Martin McDonagh

Starring Colin Farrell, Sam Rockwell

Scott’s Review #422

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Reviewed June 19, 2016

Grade: B-

Seven Psychopaths (2012) is a film that I truly wanted to like more than I did.

It started well with a Quentin Tarantino style that was appealing and the film does contain an interesting premise.

Colin Farrell plays the straight man in a cast of offbeat, quirky characters and is attempting to complete a screenplay entitled “Seven Psychopaths” based on these characters.

Sounds great, but halfway through the movie stopped delivering. I found myself slightly bored.

The film has a unique concept, to be sure, but fizzles during the second act, so much so that it stopped making much sense and lost my interest.

I did admire the creativity, though, and the chemistry among the cast is great, but the overall story in Seven Psychopaths (2012) disappointed me.

Independent Spirit Award Nominations: Best Supporting Male-Sam Rockwell, Best Screenplay

Celeste and Jesse Forever-2012

Celeste and Jesse Forever-2012

Director Lee Toland Krieger

Starring Rashida Jones, Andy Samberg

Scott’s Review #421

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Reviewed June 19, 2016

Grade: D

Celeste and Jesse Forever (2012) was a major dud for me.

I am not a fan of romantic comedies, but since the film received a nomination for an Independent Spirit Award for Best First Screenplay, I decided to watch it.

Why this film was nominated for that award I cannot understand. Perhaps someone knows someone who knows someone?

There is nothing impressive about the writing whatsoever. It’s a tried and true romantic comedy formula: couple together, the couple splits, the couple reunites, throw in some misunderstandings for good measure and that is pretty much the film.

The central characters and supporting characters are either dull, annoying, or both.

To be fair, there is nothing loathsome about the movie, but rather, it’s your standard-by-the-numbers romantic comedy that warrants no award nominations.

Bland.

Independent Spirit Award Nominations: Best First Screenplay

Mustang-2015

Mustang-2015

Director Deniz Gamze Erguven

Starring Güneş Şensoy

Scott’s Review #417

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Reviewed June 18, 2016

Grade: A-

Mustang (2015) is a powerful, relevant, Turkish film released in 2015 and nominated for many awards, including the Best Foreign Language Film Oscar.

I fully support the nomination as I feel it is a top-notch piece.

A coming of age story but with no clichés, and a real, true-to-life feel to it. It tells of various generational beliefs and how these conflict with other viewpoints and ideas.

It also focuses on blossoming life, and sadly, tragic death.

The story tells of five beautiful young sisters living in a remote village in Turkey, a thousand long miles outside of Istanbul. The girls range in age from eight to eighteen and live with their Grandmother and Uncle Erol.

The sister’s parents had died years earlier.

The main protagonist is Lale (Güneş Şensoy), the youngest of the siblings, who is wise well beyond her years as the plot unfolds. We first meet her as she bids an emotional farewell to her teacher when she moves to Istanbul.

The film is told largely from Lale’s point of view, but each of the girls plays an important role.

As the girls play an innocent game in a lake with a group of boys, the game causes a scandal in their “old world” village, and the girls are banished inside the house by their Grandmother and Uncle, who fear their progressive ideas will hurt and shame them.

The main crux of the story is the conflict between different generations and the yearning of the girls to be free and independent, both sexually and intellectually.

Their older relatives, and others in the town, prefer the old ways and are prudish.

The oldest daughters enter into arranged marriages, while the younger ones fear the same will soon happen to them.

The film wisely does not portray these conflicts in a clichéd way or make them over-obvious.

Rather, the film feels real, fresh, and like a slice of small-town Turkish life. Istanbul is mentioned as a paradise of open-minded thinkers and progressive ways, and “the place to be”.

The girls fear life in the doldrums, cooking and cleaning for their men, married off to older men without any love.

It is unclear if the Uncle is molesting any of the girls- the film alludes to it, but the point is not made obvious. What is clear, though, is the girl’s desire for sexual freedom, experimentation, and love.

They are modern thinkers.

The young actress who plays Lale is a marvel. So natural, earnest, and clever, she befriends an older man who teaches her to drive and they embark on a sweet friendship.

The film is shown through Lale’s eyes and her reactions to situations. Knowing nothing of sex, she sneaks a peek at a sex education book and is fascinated by her older sister’s sex discussions.

The ending leaves events open to interpretation, and I believe happiness awaits those featured at the conclusion.

Mustang (2015) is a wonderful film, filled with truth, conflict, great acting, and food for thought. A must-see for foreign language film lovers.

Oscar Nominations: Best Foreign Language Film

Independent Spirit Award Nominations: Best International Film

The Kid with a Bike-2011

The Kid With A Bike-2011

Director Jean-Pierre Dardenne, Luc Dardenne

Starring Thomas Doret

Scott’s Review #416

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Reviewed June 18, 2016

Grade: B

The Kid with a Bike is a small French film from 2011 that has received acclaim and recognition worldwide.

The film tells the story of a troublesome young boy abandoned by his struggling father and various dramas that unfold.

I found the film somewhat disappointing as I expected a bit more than I was given.

Throughout the very short one hour and twenty-seven-minute run-time the young boy broods and defies either authority or his caregivers, or fights with various people he encounters as he attempts to find his father.

The boys bond with a local hairdresser who takes him in and is interesting, but her motivations are not made clear other than being kind.

Why would she take in a strange kid? We do not learn all that much about this character and that is a shame.

There is one element towards the end of the film that was shocking and well done, but overall I expected something a bit deeper from this movie given all of the praise surrounding it.

Independent Spirit Award Nominations: Best International Film

The Perks of Being a Wallflower-2012

The Perks Of Being A Wallflower-2012

Director Stephen Chbosky

Starring Logan Lerman, Emma Watson   

Scott’s Review #415

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Reviewed June 18, 2016

Grade: A-

The Perks of Being a Wallflower (2012) is a coming-of-age gem of a film.

It reminds me of a strange combination of The Ice Storm (1997), Donnie Darko (1999), and American Beauty (1999), but a bit more straightforward and less weird than those films.

Perhaps with a bit of The Breakfast Club (1985) thrown in for a lighter touch.

This movie felt very real to me and not like the typical high school schmaltz usually crowding the cinemas these days. It’s dark at times but also humorous and well-written.

Each teen in the group of friends has demons to face and complex, intricately written characters. All are insecure in some form and many teen issues are addressed, in a mature, sensitive way.

It’s nice to see Emma Watson breaking away from her Harry Potter image.

The Perks of Being a Wallflower (2012) is a character-driven treat worth seeing.

Independent Spirit Award Nominations: 1 win-Best First Feature (won)

Robot & Frank-2012

Robot & Frank-2012

Director Jake Schreier

Starring Frank Langella, Susan Sarandon

Scott’s Review #414

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Reviewed June 18, 2016

Grade: C

Robot & Frank (2012) is one of those films where I am left with a “meh” reaction after having viewed it.

It’s not that it’s a bad movie, but there’s nothing particularly special either- it is quite ordinary and rather forgettable after the credits have rolled.

The premise, on paper,  seems novel: a future with robots that grow attached to humans. Unfortunately, the movie did not live up to the idea.

I was hoping for an interesting 2001: A Space Odyssey (1968) type robot idea (HAL) but received nothing of the kind.

I’m a big fan of Frank Langella and I felt he was the main attraction in this movie.

On a side note, why is Susan Sarandon suddenly playing every meaningless supporting role these days? Another wasted role. She deserves better.

Several plot points had no follow-through and the ending, while not exactly predictable, was nothing spectacular.

Meh.

Independent Spirit Award Nominations: Best First Screenplay

The Sessions-2012

The Sessions-2012

Director Ben Lewin

Starring John Hawkes, Helen Hunt

Scott’s Review #413

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Reviewed June 18, 2016

Grade: B-

The Sessions (2012) is a cute, sentimental type film that is pleasant but not much more.

I found the film to be a bit safe, although Helen Hunt’s full-frontal nude scenes are surprising to me and quite brave of the actress. I’ve never been much of a Helen Hunt fan and I have always found her to be overrated, but her performance is very good.

I felt, for the subject matter, the film is too sentimental and too Hollywood, though I do admit to enjoying it.

It might have been grittier and the characters explored a bit more though.

I did not enjoy William Macy’s silly priest character. His character seems rather unnecessary to the rest of the film and has no real point except being the unnecessary moral compass.

The dynamic between John Hawkes and Helen Hunt’s characters is the best part, otherwise, The Sessions (2012) is a mediocre offering.

Oscar Nominations: Best Supporting Actress-Helen Hunt

Independent Spirit Award Nominations: 2 wins-Best Male Lead-John Hawkes (won), Best Supporting Female- Helen Hunt (won)

Life of Pi-2012

Life Of Pi-2012

Director Ang Lee

Starring Suraj Sharma

Scott’s Review #412

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Reviewed June 18, 2016

Grade: B

Life of Pi (2012) is a visual masterpiece. It’s a beautiful piece of filmmaking and lovely to look at. There are several majestic scenes, mostly in the ocean sequences that one will marvel at.

I did not see this movie in 3-D so I am unsure what difference, if any, it would have made. A good portion of the film is CGI-laden, which I am typically not a fan of, but in this case, it works wonders.

What an adventure the main character has!

The actual story, and the acting, are nothing special and have been done before, and slightly stereotypical if truth be told, though I did enjoy the ending.

Life of Pi (2012) is based on a novel and is a wonderful adventure tale, one made very, very well.

The main reason to see it is for its Direction (Ang Lee) and the visual spectacle that it is.

Oscar Nominations: 4 wins-Best Picture, Best Director-Ang Lee (won), Best Adapted Screenplay, Best Original Score (won), Best Original Song-“Pi’s Lullaby”, Best Sound Editing, Best Sound Mixing, Best Production Design, Best Cinematography (won), Best Film Editing, Best Visual Effects (won)

Behind The Candelabra-2013

Behind the Candelabra-2013

Director Steven Soderbergh

Starring Michael Douglas, Matt Damon

Scott’s Review #411

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Reviewed June 18, 2016

Grade: A

I thoroughly enjoyed this HBO film based on the life of Liberace, whom I was too young to know much about before viewing this movie.

The excesses of his lavish lifestyle are explored completely.

The standouts are Michael Douglas and Matt Damon who are both exceptional in their portrayals of Liberace and his young lover. Both were unrecognizable at times and completely embodied their characters.

I can’t attest to the absolute truth of the story, but the HBO film does a nice job of mixing joy, passion, heartbreak, sadness, and competition throughout.

The story undoubtedly bears a likeness to many Hollywood troubled relationships past and present.

Gett: The Trial of Vivian Amsalem-2014

Gett: The Trial of Vivian Amsalem-2014

Director Ronit Elkabetz, Shlomi Elkabetz

Starring Ronit Elkabetz, Simon Abkarian

Scott’s Review #409

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Reviewed June 9, 2016

Grade: B+

Gett: The Trial of Vivian Amsalem (2014) is the third in a trilogy of films focusing on the title character Vivian Amsalem and her unhappy marriage to her husband, Elisha.

The unhappiness is hers and he sees no reason to end the marriage.

It is a film about culture, religion, and modern views versus traditional ones.

I was unaware the film was a trilogy until after I finished watching and began conducting some research as I prepared to review it. It is not required to view the first two films  (To Take A Wife and Shiva) to enjoy this film as I suspect they are each a chapter not continuations.

Vivian is a tall, beautiful woman, though she is weary and haggard when we first lay eyes on her in the stifling courtroom, where she sits and spends much of her time. She has long dark hair and intense eyes- she appears driven and quite modern and of liberal thinking, a feminist perhaps.

She is frustrated because her yearning for an independent life has been thwarted by her husband. She would like a divorce after over twenty years. Having met him at age fifteen, his is the only life she has known.

Since he will not agree to the divorce, the courts will not grant her the decision she wants. Since he has not abused her and gives her everything she desires, the judges have no grounds to grant her the divorce.

This is the conflict of the film.

Gett: The Trial of Vivian Amsalem has a clear religious message, which is an interesting component for an American viewer.

How simple it is to divorce somebody in Western civilization and how different the measure is in Israel. Jewish religious law is quite restrictive.

Vivian faces an enormous ordeal. She does not love her husband yet cannot end her loveless marriage. The film is fraught with a clear conflict and one’s interpretation of right and wrong.

Almost set as a play since the film has merely one set- the courtroom- this aspect is effective at showing frustration, exasperation, and even rage.

All the while, Gett, has a sly sense of humor, and I could not help but smirk at a few of the supporting character portrayals.

I sensed a Pedro Almodovar (a famous Spanish director) influence in the quirky, sly writing, and his themes of political freedom.

Character after character is called into the courtroom to testify as witnesses to Vivian and Elisha’s happy marriage- each attorney looking for evidence to cement their client’s point of view.

In contrast, to Vivian’s fierce independence, a mature neighbor couple of Vivian and Elisha heralds them as the perfect couple. Soon, the wife is grilled revealing that she is submissive to her husband and lives in an entirely different world than Vivian.

To be critical, the film drags slightly, but I wonder if this is the director’s intent. The tone is a suffocating one- Vivian and her attorney languish in the same courtroom for five long years as delay after delay occurs.

Throughout the numerous testimonies, an accusation is raised that is an interesting component of the film and an aspect I wondered about very early on- was an affair brewing between Vivian and her attorney? It is alluded to, but never confirmed, rather shrouded in mystery.

One wonders.

From an acting perspective, Ronit Elkabetz is fantastic, I am saddened she did not receive an Oscar nomination, but some buzz about this actress was expressed when the film was released. Her scene of pure rage towards the end of the film is brilliant. All the years of bottled-up emotions come flowing out in one great performance.

Gett: The Trial of Vivian Amsalem (2014) is an intense experience in tedium, frustration, and ultimately rage, but is never stuffy or too serious as evidenced by humorous supporting characters. It is for patient film fans seeking an emotional, human experience.

The Way He Looks-2014

The Way He Looks-2014

Director Daniel Ribeiro

Starring Fabio Audi, Ghilherme Lobo

Scott’s Review #408

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Reviewed June 4, 2016

Grade: B+

The Way He Looks is a foreign language film (Brazilian) from 2014 that tells a coming-of-age story about a blind high school student, who develops feelings for the new kid in town. The other boy has rapidly become his new best friend and the boys, while unsure of the other’s sexual preferences, fall in love.

The film is a charming story about a modern romance, now becoming more prevalent today.

Leonardo (known as Leo) is a blind high school student struggling to be his true self.  His close friend Giovana (Tess Amorim) is in a similar situation as neither has ever been kissed, yet they feel adolescent desires- they are lonely but share a close bond.

Regardless of his disability, Leo is quite independent, despite having parents who border on smothering. One day, a new student named Gabriel volunteers to sit behind Leo in class and strike up a friendship.

Giovana, unaware of Leo’s sexual preferences, develops a crush on Gabriel.

The film then tells a sweet story about a young, blossoming, romance. The main characters do not face particularly tough obstacles from outside sources, but rather from each other as their feelings and emotions are fragile.

In addition to romance, the film focuses on the friendships between Leo, Gabriel, and Giovana.

The Way He Looks is a warm film. It is sweet, compassionate, and tenderhearted. The viewer witnesses a budding romance between two teenagers and the fact that they are both males is secondary- that is how charming the film is.

The audience will root for Leo and Gabriel because they are nice kids. Giovana, the outsider, also has a rooting factor- she is in no way a villain, nor does she harbor resentment for either Leo or Gabriel, but rather yearns for her first romance and happiness.

The film wisely does not turn her into an emotional wreck, or a psycho. Sure, she gets drunk at a party, but this is only to escape her feelings.

I recoiled at the scene after scene of Leo’s parents either fretting about something, worried sick about Leo coming home late or worried that something may happen to their son.

Relax already. Life is not meant to be spent frazzled because your son is blind.

The parents are not the strongest written characters in the film and are rather secondary characters. The case is the same for the bullies, the slutty girl, and the teacher.

The film belongs to Leo, Gabriel, and Giovana.

The supporting characters in The Way He Looks are meant to react to the central characters.

The Way He Looks is about a same-sex, young romance. Charming, not too heavy, with likable characters, who one can root for. There are no bombs, car chases, or explosions needed.

The Way He Looks (2023) is a slice of life that is simple, pure, and true.

The Girls-1968

The Girls-1968

Director Mai Zetterling

Starring Bibi Andersson, Harriet Andersson

Scott’s Review #404

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Reviewed May 11, 2016

Grade: B+

The Girls is a 1968 political-leaning, surreal, dream-like, feminist Swedish film. These may seem like too many adjectives to describe a film, but they all happen to be warranted and work to categorize it, which is tough- it is a complex film.

The film left me deep in thought about what I had just viewed- that is a positive for me.

Directed by a female, Mai Zetterling, the film is told from a female perspective and is quite difficult to follow, though the message portrayed is a thought compelling, and powerful women repressed- whether in reality or fantasy-by men.

In my attempt to describe The Girls accurately, it appears to contain the boys versus girls component throughout- told by the girls. The plot centers around three women: Liz (Bibi Andersson), Marianne (Harriet Andersson), and Gunilla (Gunnel Lindblom).

The women are hired to star in a touring production of Lysistrata and each faces conflict and concern over leaving their respective families, but for differing reasons.

Liz’s husband, who is having an affair, cannot get rid of her soon enough. Marianne has recently dumped her married boyfriend. Gunilla has four children and suffers from guilt.  All of the women are very friendly with each other.

All three principal actresses are familiar to eagle-eyed Ingmar Bergman fans as each of them has appeared in numerous films of his-in very different types of roles.

Wild Strawberries and The Seventh Seal feature these actresses.

The women go on tour and have various surreal experiences based on the play in which they are a star. The film, made in black and white, has very overexposed cinematography. The blacks and the whites are very sharp in look and this is no doubt purposely done.

On the surface, it would appear that the women hate men and yearn to be free of them. Is that the point of the film? It seems to go in other directions as well. Do they hate their lives and feel confined with men and free without them, when they are touring their play?

How do they feel about their children? Do they miss them on tour, love them, resent them, or perhaps a bit of each? They yearn to be free of restraint.

We are treated to numerous scenes that seem to be a dreamlike state or a fantasy of one of the women. One runs through the forest and comes upon a grizzled, dirty child on the ground. Is it hers? She then sees her husband sitting in a living room chair in the middle of the forest.

The symbolism resonating through The Girls is countless. We also see the women fantasize about a handsome, young man. Are they tired of the doldrums- looks and otherwise- that their husbands have caused them?

Many political scenes of protest occur throughout the film. In one, the women march in unison- Nazi-style and chant. In another, the women lead what appears to be a charge of women- suffragette style, until the women start attacking each other and punching and kicking each other in the streets.

These scenes and countless others are tough to analyze, but perhaps this is the point. I decided to simply escape into the film and not try to figure out what everything meant.

Fantastic to see is the exterior scenes shot in Stockholm, Sweden, which reminds us what a liberal, democratic city it is. Yet the women are repressed. Made in 1968, during the sexual revolution, the timing of the film is perfect.

The Girls left me pondering the story and the viewpoint and I will need further viewings for the film to more successfully sink in and for me to get it- if I ever do, but I enjoyed it nonetheless.

The film is the kind of film that requires further viewing to understand. I look forward to watching this film again and that is high praise for it.

Les Cousins-1959

Les Cousins-1959

Director Claude Chabrol

Starring Gerard Blain, Jean-Claude Braily

Scott’s Review #402

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Reviewed May 5, 2016

Grade: A-

Les Cousins is a 1959 Claude Chabrol French-language film.

Made in black and white and set in Paris, the focus is on metropolitan life as seen from the perspective of one of the main characters, who is from the country and far removed from the bustle and complexities of city life.

The focal point is contrasting traits- personality, background, and otherwise. The film delves into psychological aspects that lend themselves to making the film a character-driven, thought-provoking experience.

Les Cousins is open to many interpretations. The film, therefore, has many nuances to ponder and sink one’s teeth into deep thought.

Les Cousins is about two male cousins, Charles and Paul.

They appear to be similar in age and are both law students, but they are opposites in almost every other way. Paul is the alpha male—self-centered, quick-tempered, and forceful. Living an affluent life in the heart of Paris, he has many friends, is a social butterfly, and has no filter on his criticisms and judgments of others.

On the other hand, Charles has an entirely different set of qualities. Sent by his mother to live with Paul and study for the agonizing, impending law exam, Charles is meek, quiet, and insecure.

When Charles meets Florence, a beautiful friend of Paul’s, who has a reputation for “sleeping around”, Charles falls madly in love with her, almost love at first sight, unaware of her reputation.

What follows is a strange triangle between Paul, Florence, and Charles that is laced with jealousy, revenge, and ultimately violence.

The relationships between the three principal characters are interesting to consider and are at the film’s heart.

When Paul realizes Charles is in love with Florence, does this turn of events disturb him? Does he feel sorry for Charles or elicit some perverse joy in bedding Florence in front of Charles? If so, why does he resent Charles?

Is Florence in love with Charles, or is it a guise? Does she even realize the extent of his love for her? A sexually expressive woman, she is not outlandish in her appearance and seems quite virginal to the outside viewer.

Does she enjoy the fact that the unwitting Charles sees her as pure? Does she wish that she was virginal?

Finally, the complexity of Charles’ character is mysterious. We learn that he writes letters to his mother to give updates on his studying habits and exams.

Does he harbor resentment toward his mother? Is he a “mama’s boy”? Is he overwhelmed in the city? Does he genuinely love Florence (tough to believe after one or two dates) or yearn for the freedom that she represents?

We see countless scenes of Paul and his good-looking friends engaging in various forms of merriment, usually in his modern apartment overlooking the city.

He is affluent. Is this the main reason for his popularity?

The partygoers are all well-dressed and very good-looking—sort of a fraternity party for the exceptionally tailored, if you will.

Interestingly, a female couple- appearing to be a lesbian couple- featured numerous times at the parties. Is this meant to show Paul and Parisians as open-minded and progressive?

A revolver- with only one bullet in a six-chamber gun prevalent throughout the film in a Russian roulette sequence comes into play after the film.

In the last sequence, someone is mortally wounded without ultimately revealing the ending, and we are left to ponder what is happening now.

Are the survivors lives forever changed and ruined? A knock at the door just before the credits roll leaves us wondering who is there.

My one complaint about Les Cousins is that exploring its complexities takes a long time. After the film ended, I was left pondering more than wholly engaged.

I also wondered if the pompous and over-indulgences were slightly overdone to elicit more audience reaction and contrasting elements between Paul and Charles.

A French new wave experience by one of France’s best directors, Les Cousins (1959) is a character study of three fascinating characters that leave the audience thinking about their lives past, present, and future, comparing their idiosyncrasies, actions, and thoughts to delve deeper into their psyches.

Bridge of Spies-2015

Bridge of Spies-2015

Director Steven Spielberg

Starring Tom Hanks, Mark Rylance

Scott’s Review #399

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Reviewed April 28, 2016

Grade: B+

Tom Hanks teams with Stephen Spielberg once again in another A-list Hollywood film.

Like Saving Private Ryan (1998), Bridge of Spies (2015) is in the historical vein. This time, the Cold War is featured; the film begins in 1957.

The camera work, the artwork, and the set decorations are second to none as the film looks and feels authentic.

As interesting as the overall result is—it felt like I was watching a well-made film—there was also something missing, which did not make it truly riveting, and that is why it received a B+ rating.

With Spielberg and Hanks on board, one will get a quality film.

Hanks portrays James B. Donovan, a Brooklyn attorney specializing in insurance law, but a wiz at negotiation and experienced with the Nuremberg trials.

He is assigned to defend suspected spy Rudolf Abel (Mark Rylance) in what is assumed to be an open-and-shut case, his guilt is considered a given.

Abel has been arrested by the FBI and is thought to be a Russian spy. They are willing to release him on the condition that he reveal Soviet contacts, but he refuses.

Meanwhile, an American pilot, Frances Powers, is captured in Soviet territory and taken hostage. To make matters more complicated, an American graduate student, Pryor, is trapped behind the Berlin Wall in East Germany and not allowed by the Germans to leave.

The pressure is on Donovan to defend Abel in the United States but to make a deal to return the three men to their respective countries.

Hanks, a great actor, is his typical stoic, capable self, and his portrayal reminds me of his role in Captain Phillips (2013), calm, well-mannered- a clear yet quiet leader.

The role is not flashy compared to other legendary Hanks roles (Forrest Gump-1994, Philadelphia-1993). The film centers around Hanks and caters to his acting style. His character is always at the forefront.

Hanks never gives a bad performance and I admire him in almost anything.

Let’s discuss the role and the portrayal by Mark Rylance in his Oscar-winning role.

Giving a very subdued, nuanced performance, he is good and low-key in what could have been an energetic, over-the-top performance if written that way, but I am not sure I would have handed him the golden statuette over a few of the other nominees in the 2015 Supporting Actor category.

This isn’t a criticism, but I am unsure if he warrants an Academy Award.

Bridge of Spies is very detail-oriented and every set piece- from late 1950s cars, clothing, hairstyles, and home furnishings is spot on.

The film was expensive to produce and no expense seems to have been spared.

The film travels from Brooklyn to the Soviet Union, to Germany, and gives off a patriotic, Americana flare, which is true to life in the given time. There was such a sense of country and community.

Nothing makes this more apparent than the distasteful glares coldness and hatred displayed by many characters towards Donovan.

To counteract this, when Donovan is ultimately more the hero, he is revered and celebrated.

As great as the film looks, there is something slightly disconnecting about it. I was left wanting more from a story perspective and feeling slightly disengaged throughout parts of it. I was never riveted or blown away despite realizing I was watching a well-made film.

This can happen if the story is less compelling than the way the film looks as with Bridge of Spies.

After I finished watching I felt that I did not need to see the film again, in contrast to truly great films where one can watch over again.

A slight mention is that Bridge of Spies is a “guy’s film”. Amy Ryan, a great actress, does all she can with the only real female role in the film in that of Donovan’s dutiful, supportive wife, a role written one-dimensionally hundreds of times.

It is a shame her character is not fleshed out. The typical worried scenes or fretting for her husband to return home to his family are purely reactionary and do not further the plot.

In this sense, the film deserves criticism for being too traditional.

Bridge of Spies is a good effort but not a tremendous film. It is the type of film I liked but did not love.

Perhaps, the names Spielberg and Hanks on the marquee had me expecting more.

Oscar Nominations: 1 win-Best Picture, Best Supporting Actor-Mark Rylance (won), Best Original Screenplay, Best Original Score, Best Sound Mixing, Best Production Design

Girlhood-2015

Girlhood-2015

Director Céline Sciamma

Starring Karidja Touré, Assa Sylla

Scott’s Review #398

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Reviewed April 24, 2016

Grade: B

Girlhood (2015) is a coming-of-age foreign language, French drama that tells the story of a sixteen-year-old French girl, living in a poor area (the projects) just outside Paris.

She faces numerous conflicts and tough decisions on how to live her life. School, gangs, and romance are the main issues she tackles, as well as troubled home life.

Wisely, the film uses a female director, Céline Sciamma, which lends some authenticity to the largely female issues discussed. For all its good intentions and some interesting nuances, the film suffers from a lack of grit and has a safe feel making it less compelling than it could have been.

I felt I was watching a glossy film rather than any harsh reality.

Still, worth the effort.

Marieme is a tall, gorgeous teenager living near Paris. She struggles academically and is rejected from attending high school, instead of being sent on a vocational track to be able to find a job.

Her mother works long hours as an office cleaner, and Marieme’s abusive brother is in charge of the household. Marieme also has two younger sisters.

Upset to learn she will not be attending high school, she is approached by a gang of girls, led by Lady, who asks her to go to the city with them.

She agrees to join their gang when she realizes that her brother’s best friend, Ismael, whom she has a crush on, is friendly with the other girls. Marieme and the girls begin to while away the days by stealing, fighting, and terrorizing anyone in their path.

Partying in hotels, they make the rounds. Marieme must ultimately decide if this is the life she wants.

What I found most interesting about the film is its use of an all-black cast. Sciamma (who ironically is white) felt that the female black population in Paris is underrepresented.

This is accurate and scores point with me. I love the camaraderie among the girls. They always have each other’s backs and when Marieme fights a rival girl to defend the recently beaten Lady, there is a sense of sisterhood that is appealing and is at the heart of the film.

Friendship, loyalty, and bonding are explored.

Also worth noting is that most of the cast are either unknown actors or non-actors picked off the streets to appear in the film. To this effect, the acting is surprisingly good for most novice or non-actors.

The romance between Marieme and Ismael is another strong point. They share an undeniable attraction but are forced to spend time in secret. Marieme’s brother appears to run a gang of all boys and forbids anyone from being with his sister.

The scenes shared between Marieme and Ismael are tender, sweet, and believable. They have a rooting factor.

The positives are also the negatives to Girlhood. The film lacks real grit or dirt and the friendship and romantic elements are also played safely.

Everything is glossy and bright.

For example, two fight scenes occur, one with Lady and a rival girl, and one with Marieme and the rival girl. A group of spectators gathers in a circle egging the girls on. They are in a hot, deserted parking lot.

The scenes could have been brutal, bloody, and fierce. Instead, they are short, lack blood or bruising, and feel safe. When Marieme pulls out a knife, it is intended to cut the rival girl’s bra, not to stab her. This seems unrealistic and not how things would play out in an urban gang situation.

And on a nitpicky level, why was the mother absent from the family life? Sure she had a night job, but the film presented her as being all but out of the picture. She tried to help Marieme get a job working with her, so why so much turmoil due to her busy schedule?

Also, the silly scene of the girls playing miniature golf added nothing to the plot and should have been dropped.

Girlhood (2015) is a nice, albeit sweet, coming-of-age, female gang story, that might have been more intense, but the decision was to make a soft film rather than a harsh one.

An effort that mainly focuses on bonding, friendship, and life choices over the realistic brutality it could have dealt with.

Independent Spirit Award Nominations: Best International Film

Kiss Me Deadly-1955

Kiss Me Deadly-1955

Director Robert Aldrich

Starring Ralph Meeker

Scott’s Review #391

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Reviewed April 2, 2016

Grade: A-

Kiss Me Deadly is a 1955 noir drama that influenced many subsequent films. After years of keeping it on my “to see” list, I finally got around to viewing this influential gem and now realize its power.

At times, it is confusing and perplexing and requires additional watching. I rate it an A——; however, I can see its grade rising to a solid A upon subsequent viewings.

Still, Kiss Me Deadly has much respect from me as a lover and appreciator of a good film.

The mysterious plot goes like this: Mike Hammer (played by Ralph Meeker) is a stern Los Angeles private eye. One evening, driving along a lonely country road, he picks up a hitchhiker, Christina (Cloris Leachman’s film debut), who is clad only in a trench coat.

He quickly realizes she has escaped from a mental institution but is compelled by her desperation.  When thugs catch up to them, this sets off events as Mike spends his days investigating the strange turn of events.

The plot twists and turns in innumerable ways and becomes complex but fascinating. A peculiar glowing box, which everybody seems to want, comes into play.

Wonderfully directed by Robert Aldrich, Kiss Me Deadly features unique and creative uses of lighting, camera angles, and moody shadows to significant effect, and this is one of the first aspects I noticed.

Shot in highly effective black and white, allowing Kiss Me Deadly a murky, suspicious look- as if danger and doom might be around every corner.

Meeker and Maxine Cooper as Velda, Mike’s secretary/lover, make a nice pair, as they are good-looking, but a rather B-movie type couple, in contrast, to say, Cary Grant and Eva Marie Saint, two gorgeous upper echelon Hollywood stars of the day.

Casting those stars might have changed the tone of the film.  Meeker and Cooper bring, perhaps, a blue-collar look to the film. Nevertheless, the chemistry works.

An interpretive film, Kiss Me Deadly undoubtedly influenced later film noir classics such as Chinatown (1974), L.A. Confidential (1997), and Pulp Fiction (1994), as well as science-fiction films and, arguably, Raiders of the Lost Ark (1981).

The list could go on as Kiss Me Deadly crosses into numerous genres.

The ending is highly complex, spooky, and downright weird. It is one of the craziest endings I have ever experienced.

Once the mysterious box is opened, the film becomes a strange Twilight Zone episode with screeching sounds. The explosion is open to complete interpretation and changes the dynamic. I had the enormous fortune to view the alternate ending not released in theaters.

Mike and Velda’s fates were vastly different from one end to another. My preference was the alternate ending. Sometimes, the studios play things too safe.

What does it all mean? Nuclear weapons, the apocalypse, the Cold War, glowing boxes, and detective work are many elements in one film.

A conversation about Kiss Me Deadly (1955) could be enjoyed, as it speaks volumes about the film’s high quality.

I look forward to seeing this revolutionary film again for further appreciation.

The Misfits-1961

The Misfits-1961

Director John Huston

Starring Marilyn Monroe, Clark Gable, Montgomery Clift

Scott’s Review #389

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Reviewed March 27, 2016

Grade: B+

A dark film about loneliness, insecurity, and the need for friendship, The Misfits (1961) stars several of the era’s great legends in a film that I found both sad and disturbing.

Tragically, two stars would soon be gone from this world shortly after the film was made- Clark Gable and Marilyn Monroe.  This was the final film for each.

The film, shot in black and white,  has a bleak feel and represents the onset of darker decades in the film (the 1960s and 1970s). Primarily starring in light, feel-good films, The Misfits is a complete departure for Monroe.

The film is well-written and character-driven, which appeals to me, but cruelty to animals is a lot to take.

Set in Reno, Nevada, Roslyn has arrived from out of town for a quickie divorce. She is staying with Isabelle (Thelma Ritter), who frequently assists women needing divorces, lending as their witness in court.

After the divorce is final, they go to a local watering hole to celebrate life, where they meet an aging cowboy, Gay (Gable), and his tow-truck friend, Guido. They all agree to go to Guido’s house in the desert to party. When they arrive, they learn that Guido’s wife has recently died.

From this point, Gay and Roslyn become a couple and grow vegetables at Guido’s house, attempting to begin an everyday life. Later, the group decides to round up Mustangs and hire a rodeo hand, Perce (Montgomery Clift), to help.

This leads to conflict as Gay intends to sell the horses as dog food. A subplot of a love triangle between Gay, Roslyn, and Perce emerges.

The Misfits is a rugged watch. From a story perspective, it is cynical and sometimes heartbreaking. Each of the principal characters is severely damaged and pained.

We learn that Gay has two estranged children. When he runs into them at a bar, he excitedly wants to introduce them to Roslyn, but they have left before he can.

In a drunken stupor (and a sad scene), he pathetically calls out for them to return, causing a stir. Perce’s father has died, and his mother left a changed woman- his stepfather selfishly takes their ranch for himself, despite Perce’s father wanting it to go to Perce.

Alcohol abuse is prevalent throughout the film- obviously, the characters drown their sorrows to escape or avoid the pain that they feel.

The opening credits are unique and feature puzzle pieces. This symbolizes the group’s isolation and desire to find each other and fit in. They are all misfits who come together for some sense of companionship.

This is a unique aspect of the film, and director John Huston deserves the credit for immediately setting the tone for clever viewers.

The acting in The Misfits is outstanding, and I would argue that Monroe and Gable’s performances are the best in their respective careers. They both chartered very dark territory in the lonely and damaged characters they portrayed.

Thelma Ritter adds sardonic humor but inexplicably vanishes from the film about halfway through- never to return or be mentioned again.

I would have liked to have seen much more of Isabelle and more depth to her character. Why was she a misfit? She mentions loving all cowboys, so we might assume she has had her share of damaged relationships with men. More clarity might have been interesting.

The final portion is difficult to match. Ann’s interminable scene involves Gay and Perce savagely rounding up the horses and roping them down overnight—the length of the scene and the the horses’s struggles to escape will tug at one’s heartstrings.

Knowing that animals, until quite recently, were not treated well on film sets leaves me twice as unsettled.

Dark stuff.

A film fraught with difficulties (Monroe and writer Arthur Miller’s marriage breakup, Monroe’s and Huston’s substance abuse issues), and a dark subject matter, make The Misfits an intriguing experience.

Having watched the film twice, I appreciate it more with each viewing and think it contains memorable qualities worth exploring.

As the years have passed, The Misfits (1961) has become more appreciated, like a fine wine- I am realizing why.

Obvious Child-2014

Obvious Child-2014

Director Gillian Robespierre

Starring Jenny Slate

Scott’s Review #387

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Reviewed March 22, 2016

Grade: C+

Obvious Child is a 2014 independent comedy/drama nominated for a couple of independent spirit awards, that has mixed results.

It works on some levels but has an irritating underbelly and some unneeded components that ultimately give it a thumbs down.

The major success is star Jenny Slate, a real-life Brooklyn stand-up comic with immeasurable comic timing, who will hopefully become a rising star.

Slate starred in a 2009 short film of the same name before said film graduated to a full-length feature.

Slate stars as a twenty-eight-year-old Brooklyn-ite, who moonlights as a stand-up comic in a dingy bar while working in a desolate bookstore that is soon closing.

Conversely, her parents are successful- her mother is a famed professor. When she is unceremoniously dumped by her steady, she takes up with a handsome young man for a one-night stand filled with fun.

Predictably, she winds up pregnant and forges ahead with a plan to abort their child.

The abortion story is quite interesting since there is never a doubt about what will happen. Unlike films that make abortion the main focus of conflict, Obvious Child wisely does not- every character supports, and even encourages her to have the procedure, including her mother and best friend.

Having been written and directed by women, this is intentional and a way of empowering women, which is one of the high points. If one is on the fence about the topic of abortion or is a pro-life stance, this film may be very tough to watch as its slant is made crystal clear.

Slate is the other high point of the film.

She exudes confidence and comic range. Jewish and slightly awkward looking, she is not the leading-lady type and this arguably makes her wit and sarcastic language all the more comical. She is a natural in the comedy department and hope she will go far.

Two slight props for me worth mentioning are the wonderful mention of the classic film Gone with the Wind (1939) and the setting of Brooklyn. This was a great nod to film history and the setting gave Obvious Child an authentic New York City feel.

On the other hand, an utter annoyance about Obvious Child is the shameless and constant use of blatant and off-putting bathroom humor- not just once or twice, but numerous times.

How is this necessary to the plot? I can’t say, but surmise that it was deemed necessary by the filmmakers to show that females can give as good as males can.

Almost saying, “men can make poop jokes, why can’t women”? Why this is necessary for any film is beyond me and it gives Obvious Child a crass, ugly feel.

The film also has an unrealistic quality to it. Max is portrayed as prince charming. He can do no wrong, supports Donna in any decision she makes, is enamored by her sole being, and loves her unconditionally after only a one-night stand.

This would not happen in real life.

The fact that Donna is Jewish and quirky and Max is Christian and straight-laced is not explored. What conflicts would they undoubtedly face? Why were his parents not featured?

Highly uneven, with a great premise and an interesting slant on a still-controversial social issue, Obvious Child (2014) succeeds in the story department but fails in its uncalled-for use of potty humor to elicit cheap laughs.

Independent Spirit Award Nominations: Best Female Lead-Jenny Slate, Best First Feature

Daisy Miller-1974

Daisy Miller-1974

Director Peter Bogdanovich

Starring Cybill Shepard, Cloris Leachman 

Scott’s Review #383

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Reviewed March 6, 2016

Grade: B

Daisy Miller is a largely forgotten 1974 film based on a Henry James novella of the same name, directed by Peter Bogdanovich and starring then-girlfriend Cybill Sheperd in the title role.

I admire the film in certain aspects, but ultimately rank the film as good, but not spectacular. I pondered the film afterward and had a feeling that something was missing from it.

The story, set in the late 1800s, tells of a wealthy upstate New York family, led by the naïve Daisy Miller (Sheperd), visiting Europe in the hopes of becoming more cultured and worldly, but instead, are largely met with defiance and snobbery from European sophisticates. Daisy attempts to find love with her numerous potential suitors.

The film is largely shot in Switzerland and Italy.

The romantic story between Daisy and upper-class Frederick Winterbourne is the focal point. Daisy, a chatterbox and flirtatious, captures Winterbourne’s fancy and he gradually woos her but is conflicted by social norms and her innocent involvement with other men, most notably dashing Italian Giovanelli.

This leads to conflict. I noticed some chemistry between Daisy and Winterbourne.

Bogdanovich, who only directed a handful of films, including the masterpiece The Last Picture Show (1971), uses several great actors in both films.

In addition to Sheperd, Cloris Leachman, and Eileen Brennan appear in supporting roles. Leachman as Daisy’s equally chatty and naïve mother, and Brennan as the vicious socialite Mrs. Parker.

Brennan, in particular, shines. Outstanding at playing snobs and unique character roles, this was right up Brennan’s alley and she almost steals the show.

I adored the cinematography and the costumes featured in the production and thought both were the film’s main strengths.

The clothing that the characters were dressed in is both gorgeous and believable for the period. The backdrop during the hotel garden scene is exquisite and picturesque as the lake, sky, and mountain are all in full view adding a unique viewing experience.

I also found the subject of cultural class distinctions quite interesting. The Millers are rich but uneducated and unlikable- they live in Schenectady and are considered far beneath the clever, intelligent figures of Europe.

They do not measure up and they lack the same breeding and class as many of the characters.

Adding to this is the fact that the Millers never really seemed all that interested in being in Europe, almost taking the opportunity for granted, so I was never completely captured by the Millers or found them particularly sympathetic as a group.

Given that she is the focus, I found the character of Daisy Miller a bit unlikable and this could be due to the casting of Sheperd. Daisy’s endless rants, largely about herself, teetered on annoying to say nothing of her irritant little brother.

Sure, Daisy is sweet and kindhearted, but there is something that did not compel me about her. She was a less charismatic, northern version of Scarlett O’Hara.

I kept wondering if other actresses might have brought more to the character and given her more muscle. Was this role a showcase for Sheperd because of her relationship with Bogdanovich?

The conclusion of the film surprised me and features a downcast ending that I did not expect given the sunny mood of the rest of the film, and this is to Bogdanovich’s credit.

He certainly did not make a mainstream film and I admire that.

Daisy Miller (1974) is a mixed bag for me. I give my admiration for some aspects, but the story and the casting could have used a bit of altering.

Oscar Nominations: Best Costume Design